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The foundation of popular music is the "verse" and "chorus" structure. "Pop and rock songs nearly always have both a verse and a chorus. The primary difference between the two is that when the music of the verse returns, it is almost always given a new set of lyrics, whereas the chorus usually retains the same set of lyrics every time its music appears."[1] Both are essential elements, with the verse usually played first. Exceptions abound, with "She Loves You" by The Beatles being an early example in the rock music genre. Each verse usually employs the same melody (possibly with some slight modifications), while the lyrics usually change for each verse. The chorus (or "refrain") usually consists of a melodic and lyrical phrase that repeates. Pop songs may have an introduction and coda ("tag"), but these elements are not essential to the identity of most songs. Pop songs often connect the verse and chorus via a bridge, which as its name suggests, is a section that connects the verse and chorus at one or more points in the song.

The verse and chorus are usually repeated throughout a song though the bridge, intro, and coda (also called an "outro") are usually only used once. Some pop songs may have a solo section, particularly in rock- or blues-influenced pop. During the solo section, one or more instruments play a melodic line which may be the melody used by the singer, or, in blues or jazz an improvised line.

Elements

Introduction

The introduction is a unique section that comes at the beginning of the piece. Generally speaking, an introduction contains just music and no words. It usually builds up suspense for the listener so when the downbeat drops in, it creates a pleasing sense of release. The intro also creates the atmosphere of the song. As such, the rhythm section typically plays in the "feel" of the song that follows. For example, for a blues shuffle, a band starts playing a shuffle rhythm. In some songs, the intro is one or more bars of the tonicchord (the "home" key of the song). With songs, another role of the intro is to give the singer the key of the song. For this reason, even if an intro includes chords other than the tonic, it generally ends with a cadence, either on the tonic or dominant chord.

The introduction may also be based around the chords used in the verse, chorus, or bridge, or a stock "turnaround" progression may be played, such as the I-vi-ii-V progression (particularly in jazz influenced pop songs). More rarely, the introduction may begin by suggesting or implying another key. For example, a song in C Major might begin with an introduction in G Major, which makes the listener think that the song will eventually be in G Major. A cliche used to indicate to the listener that this G Major section is in fact the dominant chord of another key area is to add the dominant seventh, which in this case would shift the harmony to a G7 chord. In some cases, an introduction contains only drums or percussion parts that set the rhythm and "groove" for the song. Alternately the introduction may consist of a solo section sung by the lead singer (or a group of backup singers), or a riff played by an instrumentalist.

The most straightforward, and least risky way to write an introduction is to use a section from the song. This contains melodic themes from the song, chords from one of the song's sections, and the beat and style of the song. However, not all songs have an intro of this type. Some songs have an intro that does not use any of the material from the song that is to follow. With this type of intro, the goal is to create interest in the listener and make them unsure of what will happen. This type of intro could consist of a series of loud, accented chords, punctuated by cymbal, with a bassline beginning near the end, to act as a pitch reference point for the singer.

Verse

In popular music, a verse roughly corresponds to a poetic stanza because it consists of rhyming lyrics most often with an AABB or ABAB rhyme scheme. When two or more sections of the song have almost identical music and different lyrics, each section is considered one verse. It is not to be confused with a pre-verse, which is an interlude between the introduction of a song and its opening verse. Although less common now, the pre-verse technique was popular with the surf music of the 1960s.[]

Musically, "the verse is to be understood as a unit that prolongs the tonic....The musical structure of the verse nearly always recurs at least once with a different set of lyrics."[2] The tonic or "home key" chord of a song can be prolonged in a number of ways. Often, pop and rock songs use chords closely related to the tonic, such as iii or vi, to prolong the tonic. In the key of C Major, the iii chord would be e minor and the vi chord would be a minor. These chords are considered closely related to the tonic because they share chord tones. For example, the chord e minor includes the notes E and G, both of which are part of the C Major triad. Similarly, the chord a minor includes the notes C and E, both part of the C Major triad.

Lyrically, "the verse contains the details of the song: the story, the events, images and emotions that the writer wishes to express....Each verse will have different lyrics from the others."[3] "A verse exists primarily to support the chorus or refrain...both musically and lyrically."[4] A verse of a song, is a repeated sung melody where the words change from use to use (though not necessarily a great deal).

Pre-chorus

An optional section that may occur after the verse is the "pre-chorus". Also referred to as a build, "channel, or transitional bridge, the pre-chorus functions to connect the verse to the chorus with intermediary material, typically using subdominant (usually built on the IV chord or ii chord, which in the key of C Major would be an F Major or d minor chord) or similar transitional harmonies. "Often, a two-phrase verse containing basic chords is followed by a passage, often harmonically probing, that leads to the full chorus."[5] Often, when verse and chorus use the same harmonic structure, the pre-chorus introduces a new harmonic pattern or harmony that prepares the verse chords to transition into the chorus.

For example, if a song is in C Major, and the songwriter aims to get to a chorus that focuses on the dominant chord (G Major) being tonicized (treated like a "home key" for a short period), a chord progression could be used for the pre-chorus that gets the listener ready to hear the chorus' chord (G Major) as an arrival key. One widely used way to accomplish this is to precede the G Major chord with its own ii-V7 chords. In the key given, ii of G Major would be an A minor chord. V7 of G Major would be D7. As such, with the example song, this could be done by having a pre-chorus that consists of one bar of A minor and one bar of D7. This would lead the listener to expect a resolution from ii-V to I, which in this case is the temporary tonic of G Major. The chord A minor would not be unusual to the listener, as it is a shared chord that exists in both G Major and C Major. A minor is the ii chord in G Major, and it is the vi chord in C Major. The chord that would alert the listener that a change was taking place is the D7 chord. There is no D7 chord in C Major. A listener experienced with popular and traditional music would hear this as a secondary dominant. Harmonic theorists and arrangers would call it V7/V or five of five, as the D7 chord is the dominant (or fifth) chord of G Major.

Chorus or refrain

"The difference between refrain and chorus is not always cut-and-dried; both refer to passages of unchanging music and text providing a periodic sense of return."[6] "At times, the term 'refrain' has been used interchangeably with 'chorus.' Technically, the refrain may be considered anything that's not the verse....a song part that contains the hook or title and appears more than once in a song is usually called 'a chorus.'"[7] "The chorus contains the main idea, or big picture, of what is being expressed lyrically and musically. It is repeated throughout the song, and the melody and lyric rarely vary."[3] A refrain is, "a repeated line or musical phrase that ties a song together...A refrain is only a phrase, or a word, while a chorus contains many more words."[8] A refrain is a repetitive phrase or phrases that serve the function of a chorus lyrically, but are not in a separate section or long enough to be a chorus.[4] For example, refrains are found in The Beatles' "She Loves You" ("yeah, yeah, yeah") AC/DC's "You Shook Me All Night Long", Paul Simon's "The Sound of Silence", and "Deck the Halls" ("fa la la la la").[8]

The chorus or refrain is the element of the song that repeats at least once both musically and lyrically. It is almost always of greater musical and emotional intensity than the verse. "The chorus, which gets its name from a usual thickening of texture from the addition of backing vocals, is always a discrete section that nearly always prolongs the tonic and carries an unvaried poetic text."[9] In terms of narrative, the chorus conveys the main message or theme of the song. Normally the most memorable element of the song for listeners, the chorus usually contains the hook.

Bridge

A bridge may be a transition, but in popular music, more often is "...a section that contrasts with the verse...[,] usually ends on the dominant...[, and] often culminates in a strong re-transitional."[9] "The bridge is a device that is used to break up the repetitive pattern of the song and keep the listener's attention....In a bridge, the pattern of the words and music change."[8] For example, John Denver's "Country Roads" is a song with a bridge while Stevie Wonder's "You Are the Sunshine of My Life" is a song without one.[8]

In music theory, "middle eight" (a common type of bridge) refers to a section of a song with a significantly different melody and lyrics, which helps the song develop itself in a natural way by creating a contrast to the previously played, usually placed after the second chorus in a song. (Typically, a song consists of first verse, pre-chorus, chorus, second verse, pre-chorus, chorus, middle eight, chorus).[] Such sections often consist of new chords, but also frequently just alternate between two chords. It is called a middle eight because it happens in the middle of the song and the length is generally eight bars. Jazz players also call this "the release".[]

Middle eights are often quieter than the remainder of the song,[] in contrast with the solo, which is generally more energetic. In slower songs, however, a middle eight can be used to generate energy.[original research?] By adding a powerful upbeat middle eight, musicians can then end the song with a hook in the end chorus and finale.

Conclusion or outro

The conclusion or outro of a song is a way of ending or completing the song. It signals to the listeners (or dancers) that the song is nearing its close. The reason for having an outro is that if a song just ended at the last bar of a section, such as on the last verse or the last chorus, this might feel too abrupt for listeners and dancers. By using an outro, the songwriter signals that the song is nearing its end. This gives a good sense of closure for the listener. For DJs, the outro is a signal that they need to be ready to mix in their next song.

In general, songwriters and arrangers do not introduce any new melodies or riffs in the outro. However, a melody or riff that was used throughout the song may be re-used as part of an outro. In general, the outro is a section where the energy of the song, broadly defined, dissipates. For example, many songs are ended with a fade-out, in which the song gets quieter and quieter. In many songs, the band does a ritardando during the outro, a process of gradually slowing down the tempo. Both the fade-out and the ritardando are ways of decreasing the intensity of a song and signalling that it is nearing its conclusion.

For an outro that fades out, the arranger or songwriter typically repeats a short section of the music over and over. This can be the chorus, for example. An audio engineer then uses the fader on the mixing board to gradually decrease the volume of the recording. When a tribute band plays a cover song that, in the recorded version ends with a fade-out, the live band may imitate that by playing progressively quieter.

Another way many pop and rock songs end is with a tag. There are two types of tags: the instrumental tag and the instrumental/vocal tag. With an instrumental tag, the vocalist no longer sings, and the band's rhythm section takes over the music to finish off the song. A tag is often a vamp of a few chords that the band repeats. In a jazz song, this could be a standard turnaround, such as I-vi-ii-V7 or a stock progression, such as ii-V7. If the tag includes the tonic chord, such as a vamp on I-IV, the bandleader typically cues the last time that the penultimate chord (a IV chord in this case) is played, leading to an ending on the I chord.

If the tag does not include the tonic chord, such as with a ii-V7 tag, the bandleader cues the band to do a cadence that resolves onto the tonic (I) chord. With an instrumental and vocal tag, the band and vocalist typically repeat a section of the song, such as the chorus, to give emphasis to its message. In some cases, the vocalist may use only a few words from the chorus or even one word. Some bands have the guitar player do a guitar solo during the outro, but it is not the focus of the section; instead, it is more to add interesting improvisation. A guitar solo during an outro is typically mixed lower than a mid-song guitar solo.

Elision

An elision[] is a section of music where different sections overlap one another, usually for a short period. It is mostly used in fast-paced music, and it is designed to create tension and drama. Songwriters use elision to keep the song from losing its energy during cadences, the points at which the music comes to rest on, typically on a tonic or dominant chord. If a song has a section that ends with a cadence on the tonic, if the songwriter gives this cadence a full bar, with the chord held as a whole note, this makes the listener feel like the music is stopping. However, if songwriters use an elided cadence, they can bring the section to a cadence on the tonic, and then, immediately after this cadence, begin a new section of music which overlaps with the cadence. Another form of elision would, in a chorus later in the song, to interject musical elements from the bridge.

Instrumental solo

A solo is a section designed to showcase an instrumentalist (e.g. a guitarist or a harmonica player) or less commonly, more than one instrumentalist (e.g., a trumpeter and a sax player). Guitar solos are common in rock music, particularly heavy metal and in the blues. The solo section may take place over the chords from the verse, chorus, or bridge, or over a standard solo backing progression, such as the 12-bar blues progression. In some pop songs, the solo performer plays the same melodies that were performed by the lead singer, often with flourishes and embellishments, such as riffs, scale runs, and arpeggios. In blues- or jazz-influenced pop songs, the solo performers may improvise a solo.

Ad lib

In Latin, ad libitum means "at will"; this is often shortened to ad lib. An ad lib section of a song (usually in the coda or outro) occurs when the main lead vocal or a second lead vocal breaks away from the already established lyric and/or melody to add melodic interest and intensity to the end of the song. Often, the ad lib repeats the previously sung line using variations on phrasing, melodic shape, and/or lyric, but the vocalist may also use entirely new lyrics or a lyric from an earlier section of the song. During an ad lib section, the rhythm may become freer (with the rhythm section following the vocalist), or the rhythm section may stop entirely, giving the vocalist the freedom to use whichever tempo sounds right. During live performances, singers sometimes include ad libs not originally in the song, such as making a reference to the town of the audience or customizing the lyrics to the current events of the era.

There is a distinction between ad lib as a song section and ad lib as a general term. Ad lib as a general term can be applied to any free interpretation of the musical material.

AABA form

Thirty-two-bar form uses four sections, most often eight measures long each (4×8=32), two verses or A sections, a contrasting B section (the bridge or "middle-eight") and a return of the verse in one last A section (AABA). The B section is often intended as a contrast to the A sections that precede and follow it. The B section may be made to contrast by putting it in a new harmony. For example, with the jazz standard "I've Got Rhythm", the A sections are all tonic prolongations based around the I-vi-ii-V chord progression (Bb in the standard key); however, the B section changes key and moves to V/vi, or D7 in the standard key, which then does a circle of fifths movement to G7, C7 and finally F7, setting the listener up for a return to the tonic Bb in the final A section.

The "I've Got Rhythm" example also provides contrast because the harmonic rhythm changes in the B section. Whereas the A sections contain a vibrant, exciting feel of two chord changes per bar (e.g., the first two bars are often Bb g minor/c minor F7), the B section consists of two bars of D7, two bars of G7, two bars of C7 and two bars of F7. In some songs, the "feel" also changes in the B section. For example, the A sections may be in swing feel, and the B section may be in Latin or Afro-Cuban feel.

While the form is often described as AABA, this does not mean that the A sections are all exactly the same. The first A section ends by going back to the next A section, and the second A section ends and transitions into the B section. As such, at the minimum, the composer or arranger often modifies the harmony of the end of the different A sections to guide the listener through the key changes. As well, the composer or arranger may re-harmonize the melody on one or more of the A sections, to provide variety. Note that with a reharmonization, the melody does not usually change; only the chords played by the accompaniment musicians change.

(Berklee Guide). Veteran songwriter Pat Pattison has taught many of Berklee College of Music's best and brightest students how to write truly great lyrics. Her helpful guide contains essential information on lyric structures, timing and placement, and exercises to help everyone from beginners to seasoned songwriters say things more effectively and gain a better understanding of their craft. Features examples of famous songs for study, including: Be Still My Beating Heart * Can't Fight This Feeling * It Was a Very Good Year * Tickle Me * and more.

The producer's guide to harmony, chord progressions, and song structure in the MIDI grid.

As an online class, Dr. Allen has had over 50,000 students use this ground-breaking curriculum to learn music theory. Students and Producers who have wanted to learn music theory to improve their own music, but have been intimidated by traditional approaches, music notation, and abstract concepts will find this book to be the answer they have been looking for.

From the Author: âHow music theory is usually taught is unfair. It starts with the assumption that you can read music and understand the language of classical music. My book leaves all of that behind — focusing only on the MIDI grid that producers are already familiar with to learn all the key concepts of music theory, and ultimately, make better music.â

This book covers all the fundamentals of music theory, but is written using the language of the DJ and Producer — the MIDI Grid. It includes âanalysisâ projects that look at the harmonic and melodic ideas in songs by popular producers including Zedd, Boards of Canada, Daft Punk, Deadmau5, Bonobo, Richie Hawtin, Moby, Skrillex, and Aphex Twin.

Praise for Music Theory for Electronic Music Producers:

âAspiring electronic musicians have choices to make when it concerns their own education and training. This text makes one choice much easier: start here and get learning, quickly. Grounded and easygoing, the book uses real-world examples to help you make sense of musicâs inner worksings while steering clear of dense theories.â— Michael J. Ethen, PhD Musicologist

âThis book knocks the oftentimes alienating world of music theory completely onto itâs side. Difficult to explain concepts are perfectly demonstrated for the aspiring electronic music producer who might have no formal music training. A must have for all aspiring producers.â— James Patrick (DJ, Producer, Educator) Slam Academy, Dubspot, IPR, Ableton Certified Trainer

âWith Music Theory for Electronic Music Producers, Dr. Allen has produced a remarkable resource: an extensive tour of musical theory that leverages some of our favorite modern tools — the virtual studio and itâs piano roll note display. By introducing us to the âwhyâ as well as the âwhatâ of music theory, this book helps us to understand what makes music tick and how to improve our own work. In addition to offering a sound theoretical foundation, the deep dives into analyzing tracks by Skrillex, Aphex Twin, and Deadmau5 keeps our attention focused on real-world production. MTEMP will definitely go on the top of my recommendation list for anyone that needs a fresh view of musical concepts.â— Darwin Grosse Director of Education, Cycling â74

Have you always wanted to put your thoughts and feelings into the form of musical lyrics but couldnât quite make the transition? If so, then How to Write Lyrics for Beginners in 24 Hours or Less: A Detailed Guide is the book you have been waiting for. Inside you will find everything you need to walk you through the lyrics writing process to ensure you go from novice to maestro in no time flat. Writing successful lyrics is all about feeling strong emotions about a person, event or set of circumstances and expressing those feelings in a unique, well thought out way. The rest is simply understanding the proper placement of lines and verse and knowing how to properly expand upon any initial ideas you may have until they form the type of cohesive thought that is easy to set to music. This guide will walk you through all of the particulars in such a way that you canât help but come up with the basic outlines of a song, if not a rough version of the whole thing. Let your inner lyricist out for a spin, consider picking up this guide today. Here Is A Preview Of What You'll Learn... A breakdown of common song and chorus/ verse structures Surefire tips to ensure you make the most of any inspiration Guaranteed methods of improving your word choice for maximum results Specific chapters detailing extra tips for writing love songs, rock songs and rap songs Much, much more!

Before reading, hand out lines of a poem and have students try to build an idea of what the poem will be about...invite two students to play good angel/bad angel for a book character...have students perform a vocabulary statue depicting the meaning of terms such as global warming or deforestation. This book has many motivating ideas like this that energize students before, during, and after reading. These strategies can be done individually, or through pair work or groups. Great for deepening reading strategies such as activating prior knowledge, inferring, visualizing, making connections, and more. For use with Grades 4 & Up.

More than fifty years ago, John Coltrane drew the twelve musical notes in a circle and connected them by straight lines, forming a five-pointed star. Inspired by Einstein, Coltrane put physics and geometry at the core of his music.

Physicist and jazz musician Stephon Alexander follows suit, using jazz to answer physics' most vexing questions about the past and future of the universe. Following the great minds that first drew the links between music and physics-a list including Pythagoras, Kepler, Newton, Einstein, and Rakim-The Jazz of Physics reveals that the ancient poetic idea of the Music of the Spheres," taken seriously, clarifies confounding issues in physics.

The Jazz of Physics will fascinate and inspire anyone interested in the mysteries of our universe, music, and life itself.

You'll never listen to music the same way again! Producer, audio engineer, and author Bobby Owsinski takes you behind-the-scenes of 20 of the most beloved classic rock hits of the 1960s, '70s, and '80s. Using a technique refined after years of listening to songs under the microscope of the studio, each song analysis by Bobby describes exactly how the song was constructed and why it was a hit, examining in detail the song form, the arrangement, the sound, and the production. This is a valuable must-have for everyone who loves music, musicians learning about arrangements, producers wanting to learn how hits are constructed, audio engineers analyzing the sounds of the hits, songwriters looking inside a hit's secrets, and fans who love facts and trivia about their favorite artists. Every song analysis has numerous "listen to" moments pointing out small but significant changes in the arrangement or sound that you might not have noticed before. Plus you'll get all the song facts never found all in one place like release date, songwriters, recording studio information, number of units sold, and chart position.

You'll never listen to music the same way again! Producer, audio engineer, and author Bobby Owsinski takes you behind-the-scenes of 20 of the biggest modern pop and hip-hop hits of the 21st century. Using a technique refined after years of listening to songs under the microscope of the studio, each song analysis by Bobby describes exactly how the song was constructed and why it was a hit, examining in detail the song form, the arrangement, the sound, and the production. This is a valuable must-have for everyone who loves music, musicians learning about arrangements, producers wanting to learn how hits are constructed, audio engineers analyzing the sounds of the hits, songwriters looking inside a hit's secrets, and fans who love facts and trivia about their favorite artists. Every song analysis has numerous "listen to" moments pointing out small but significant changes in the arrangement or sound that you might not have noticed before. Plus you'll get all the song facts never found all in one place like release date, songwriters, recording studio information, number of units sold, and chart position.

When Bela BartÃ³k died in September of 1945, he left a partially completed viola concerto commissioned by the virtuoso violist William Primrose. Yet, while no definitive version of the work exists, this concerto has become arguably the most-performed viola concerto in the world. The story of how the concerto came to be, from its commissioning by Primrose to its first performance to the several completions that are performed today is told here in BartÃ³k's Viola Concerto:The Remarkable Story of His Swansong.

After BartÃ³k's death, his family asked the composer's friend Tibor Serly to look over the sketches of the concerto and to prepare it for publication. While a draft was ready, it took Serly years to assemble the sketches into a complete piece. In 1949, Primrose finally unveiled it, at a premiere performance with the Minneapolis Symphony Orchestra.

For almost half a century, the Serly version enjoyed great popularity among the viola community, even while it faced charges of inauthenticity. In the 1990s, several revisions appeared and, in 1995, the composer's son, Peter BartÃ³k, released a revision, opening the way or an intensified debate on the authenticity of the multiple versions. This debate continues as violists and BartÃ³k scholars seek the definitive version of this final work of Hungary's greatest composer.

BartÃ³k's Viola Concerto tells the story of the genesis and completion of BartÃ³k's viola concerto, its reception over the second half of the twentieth century, its revisions, and future possibilities.